Modern chemistry is not without a hope, not to say a certainty, of verifying the golden visions of the alchymists. Dr. Girtanner, of Gottingen, not long ago adventured the following prophecy: "In the nineteenth century the transmutation of metals will be generally known and practised. Every chemist and every artist will make gold; kitchen utensils will be of silver, and even gold, which will contribute more than anything else to prolong life, poisoned at present by the oxides of copper, lead, and iron, which we daily swallow with our food." Phil. Mag. vol. vi., p. 383. This sublime chemist, though he does not venture to predict that universal elixir, which is to prolong life at pleasure, yet approximates to it. A chemical friend writes to me, that "The metals seem to be composite bodies, which nature is perpetually preparing; and it may be reserved for the future researches of science to trace, and perhaps to imitate, some of these curious operations." Sir Humphry Davy told me that he did not consider this undiscovered art an impossible thing, but which, should it ever be discovered, would certainly be useless.
TITLES OF BOOKS.
Were it inquired of an ingenious writer what page of his work had occasioned him most perplexity, he would often point to the title-page. The curiosity which we there would excite, is, however, most fastidious to gratify.
Among those who appear to have felt this irksome situation, are most of our periodical writers. The "Tatler" and the "Spectator," enjoying priority of conception, have adopted titles with characteristic felicity; but perhaps the invention of the authors begins to fail in the "Reader," the "Lover," and the "Theatre!" Succeeding writers were as unfortunate in their titles, as their works; such are the "Universal Spectator," and the "Lay Monastery." The copious mind of Johnson could not discover an appropriate title, and indeed in the first "Idler" acknowledged his despair. The "Rambler" was so little understood, at the time of its appearance, that a French journalist has translated it as "Le Chevalier Errant;" and when it was corrected to L'Errant, a foreigner drank Johnson's health one day, by innocently addressing him by the appellation of Mr. "Vagabond!" The "Adventurer" cannot be considered as a fortunate title; it is not appropriate to those pleasing miscellanies, for any writer is an adventurer. The "Lounger," the "Mirror," and even the "Connoisseur," if examined accurately, present nothing in the titles descriptive of the works. As for the "World," it could only have been given by the fashionable egotism of its authors, who considered the world as merely a circuit round St. James's Street. When the celebrated father of reviews, Le Journal des Sçavans, was first published, the very title repulsed the public. The author was obliged in his succeeding volumes to soften it down, by explaining its general tendency. He there assures the curious, that not only men of learning and taste, but the humblest mechanic, may find a profitable amusement. An English novel, published with the title of "The Champion of Virtue," could find no readers; but afterwards passed through several editions under the happier invitation of "The Old English Baron." "The Concubine," a poem by Mickle, could never find purchasers, till it assumed the more delicate title of "Sir Martyn."
As a subject of literary curiosity, some amusement may be gathered from a glance at what has been doing in the world, concerning this important portion of every book.
The Jewish and many oriental authors were fond of allegorical titles, which always indicate the most puerile age of taste. The titles were usually adapted to their obscure works. It might exercise an able enigmatist to explain their allusions; for we must understand by "The Heart of Aaron," that it is a commentary on several of the prophets. "The Bones of Joseph" is an introduction to the Talmud. "The Garden of Nuts," and "The Golden Apples," are theological questions; and "The Pomegranate with its Flower," is a treatise of ceremonies, not any more practised. Jortin gives a title, which he says of all the fantastical titles he can recollect is one of the prettiest. A rabbin published a catalogue of rabbinical writers, and called it Labia Dormientium, from Cantic. vii. 9. "Like the best wine of my beloved that goeth down sweetly, causing the lips of those that are asleep to speak." It hath a double meaning, of which he was not aware, for most of his rabbinical brethren talk very much like men in their sleep.
Almost all their works bear such titles as bread—gold—silver—roses—eyes, &c.; in a word, anything that signifies nothing.
Affected title-pages were not peculiar to the orientals: the Greeks and the Romans have shown a finer taste. They had their Cornucopias, or horns of abundance—Limones, or meadows—Pinakidions, or tablets—Pancarpes, or all sorts of fruits; titles not unhappily adapted for the miscellanists. The nine books of Herodotus, and the nine epistles of Æschines, were respectively honoured by the name of a Muse; and three orations of the latter, by those of the Graces.
The modern fanatics have had a most barbarous taste for titles. We could produce numbers from abroad, and at home. Some works have been called, "Matches lighted at the Divine Fire,"—and one "The Gun of Penitence:" a collection of passages from the fathers is called "The Shop of the Spiritual Apothecary:" we have "The Bank of Faith," and "The Sixpennyworth of Divine Spirit:" one of these works bears the following elaborate title: "Some fine Biscuits baked in the Oven of Charity, carefully conserved for the Chickens of the Church, the Sparrows of the Spirit, and the sweet Swallows of Salvation." Sometimes their quaintness has some humour. Sir Humphrey Lind, a zealous puritan, published a work which a Jesuit answered by another, entitled "A Pair of Spectacles for Sir Humphrey Lind." The doughty knight retorted, by "A Case for Sir Humphrey Lind's Spectacles."
Some of these obscure titles have an entertaining absurdity; as "The Three Daughters of Job," which is a treatise on the three virtues of patience, fortitude, and pain. "The Innocent Love, or the Holy Knight," is a description of the ardours of a saint for the Virgin. "The Sound of the Trumpet," is a work on the day of judgment; and "A Fan to drive away Flies," is a theological treatise on purgatory.
We must not write to the utter neglect of our title; and a fair author should have the literary piety of ever having "the fear of his title-page before his eyes." The following are improper titles. Don Matthews, chief huntsman to Philip IV. of Spain, entitled his book "The Origin and Dignity of the Royal House," but the entire work relates only to hunting. De Chantereine composed several moral essays, which being at a loss how to entitle, he called "The Education of a Prince." He would persuade the reader in his preface, that though they were not composed with a view to this subject, they should not, however, be censured for the title, as they partly related to the education of a prince. The world was too sagacious to be duped, and the author in his second edition acknowledges the absurdity, drops "the magnificent title," and calls his work "Moral Essays." Montaigne's immortal history of his own mind, for such are his "Essays," has assumed perhaps too modest a title, and not sufficiently discriminative. Sorlin equivocally entitled a collection of essays, "The Walks of Richelieu," because they were composed at that place; "The Attic Nights" of Aulus Gellius were so called, because they were written in Attica. Mr. Tooke, in his grammatical "Diversions of Purley," must have deceived many.
A rhodomontade title-page was once a great favourite. There was a time when the republic of letters was over-built with "Palaces of Pleasure," "Palaces of Honour," and "Palaces of Eloquence;" with "Temples of Memory," and "Theatres of Human Life," and "Amphitheatres of Providence;" "Pharoses, Gardens, Pictures, Treasures." The epistles of Guevara dazzled the public eye with their splendid title, for they were called "Golden Epistles;" and the "Golden Legend" of Voragine had been more appropriately entitled leaden.
They were once so fond of novelty, that every book recommended itself by such titles as "A new Method; new Elements of Geometry; the new Letter Writer, and the new Art of Cookery."
To excite the curiosity of the pious, some writers employed artifices of a very ludicrous nature. Some made their titles rhyming echoes; as this one of a father, who has given his works under the title of Scalæ Alæ animi; and Jesus esus novus Orbis. Some have distributed them according to the measure of time, as one Father Nadasi, the greater part of whose works are years,